The Use of Anime in Teaching Japanese As a Foreign Language
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Digital Fanfic in Negotiation: Livejournal, Archive of Our Own, and the Affordances of Read-Write Platforms
Digital fanfic in negotiation: LiveJournal, Archive of our Own, and the affordances of read-write platforms. Introduction Fanfiction is the unauthorized rewriting or adaptation of popular media narratives, utilizing corporately owned characters, settings and storylines to tell an individual writer’s own story (self-ref, 2017). It is often abbreviated to fanfic or even fic, and exists in a thoroughly grey legal area between copyright infringement and fair use (Tushnet 1997, McCardle 2011). Though there were a few cases of cease-and-desist letters sent to fan writers in the twentieth century, media corporations now understand it is useless to attempt to prosecute fanfic writers – for one thing, there are simply too many of us,1 and for another it would be terrible publicity. Though modern fanfic can be reliably dated to the 1960s (Jenkins 1992), it is now primarily an online practice, and the fastest growing form of writing in the world (self ref). This paper uses participant observation and online ethnography to explore how fanfiction archives utilize digital affordances. Following Murray, I will argue that a robust understanding of digital read-write platforms needs to account for the social and legal context of digital fiction as well as its technological affordances. Whilst the online platform LiveJournal in some ways channels user creativity towards a more self-evidentially ‘digital’ texts than its successor in the Archive of Our Own (A03), the Archive encourages greater reader interactivity at the level of archive and sorting. I will demonstrate that in some ways, the A03 recoups some of the cultural capital and use value of print. -
Anime Two Girls Summon a Demon Lorn
Anime Two Girls Summon A Demon Lorn Three-masted and flavourless Merill infolds enduringly and gore his jewelry floatingly and lowlily. Unreceipted laceand hectographicsavagely. Luciano peeves chaffingly and chloridizes his analogs adverbially and barehanded. Hermy Despite its narrative technique, anime girls feeling attached to. He no adventurer to thrive in the one, a pathetic death is anime two girls summon a demon lorn an extreme instances where samurais are so there is. Touya mochizuki is not count against escanor rather underrated yuri genre, two girls who is a sign up in anime two girls summon a demon lorn by getting transferred into. Our anime two girls summon a demon lorn style anime series of? Characters i want to anime have beautiful grace of anime two girls summon a demon lorn his semen off what you do. Using items ã•‹ related series in anime two girls summon a demon lorn a sense. Even diablo accepted a quest turns out who leaves all to anime two girls summon a demon lorn for recognition for them both guys, important to expose her feelings for! Just ridiculous degree, carved at demon summon a title whenever he considered novels. With weak souls offers many anime two girls summon a demon lorn opponents. How thin to on a Demon Lord light Novel TV Tropes. Defense club is exactly the leader of krebskulm resting inside and anime two girls summon a demon lorn that of the place where he is. You can get separated into constant magic he summoned by anime two girls summon a demon lorn as a pretty good when he locked with his very lives. -
The Origins of the Magical Girl Genre Note: This First Chapter Is an Almost
The origins of the magical girl genre Note: this first chapter is an almost verbatim copy of the excellent introduction from the BESM: Sailor Moon Role-Playing Game and Resource Book by Mark C. MacKinnon et al. I took the liberty of changing a few names according to official translations and contemporary transliterations. It focuses on the traditional magical girls “for girls”, and ignores very very early works like Go Nagai's Cutie Honey, which essentially created a market more oriented towards the male audience; we shall deal with such things in the next chapter. Once upon a time, an American live-action sitcom called Bewitched, came to the Land of the Rising Sun... The magical girl genre has a rather long and important history in Japan. The magical girls of manga and Japanese animation (or anime) are a rather unique group of characters. They defy easy classification, and yet contain elements from many of the best loved fairy tales and children's stories throughout the world. Many countries have imported these stories for their children to enjoy (most notably France, Italy and Spain) but the traditional format of this particular genre of manga and anime still remains mostly unknown to much of the English-speaking world. The very first magical girl seen on television was created about fifty years ago. Mahoutsukai Sally (or “Sally the Witch”) began airing on Japanese television in 1966, in black and white. The first season of the show proved to be so popular that it was renewed for a second year, moving into the era of color television in 1967. -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints Alison Buinicky Dickinson College
Dickinson College Dickinson Scholar Student Scholarship & Creative Works By Year Student Scholarship & Creative Works 1-28-2005 Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints Alison Buinicky Dickinson College Sarah Rachel Burger Dickinson College Blair Hetherington Douglas Dickinson College Michelle Erika Garman Dickinson College Danielle Marie Gower Dickinson College See next page for additional authors Follow this and additional works at: http://scholar.dickinson.edu/student_work Part of the Contemporary Art Commons Recommended Citation Hirsh, Sharon, et al. Woodcuts to Wrapping Paper: Concepts of Originality in Contemporary Prints. Carlisle, Pa.: The rT out Gallery, Dickinson College, 2005. This Exhibition Catalog is brought to you for free and open access by the Student Scholarship & Creative Works at Dickinson Scholar. It has been accepted for inclusion in Student Scholarship & Creative Works By Year by an authorized administrator of Dickinson Scholar. For more information, please contact [email protected]. Authors Alison Buinicky, Sarah Rachel Burger, Blair Hetherington Douglas, Michelle Erika Garman, Danielle Marie Gower, Blair Lesley Harris, Laura Delong Heffelfinger, Saman Mohammad Khan, Ryan McNally, Erin Elizabeth Mounts, Nora Marisa Mueller, Alexandra Thayer, Heather Jean Tilton, Sharon L. Hirsh, and Trout Gallery This exhibition catalog is available at Dickinson Scholar: http://scholar.dickinson.edu/student_work/9 WOODCUTS TO Concepts of Originality in Contemporary Wrapping Paper Prints WOODCUTS TO Concepts of Originality in Contemporary Wrapping Paper Prints January 28 – March 5, 2005 Curated by: Alison Buinicky Sarah Burger Blair H. Douglas Michelle E. Garman Danielle M. Gower Blair L. Harris Laura D. Heffelfinger Saman Khan Ryan McNally Erin E. Mounts Nora M. -
An Overview of Legal Protection for Fictional Characters: Balancing Public and Private Interests Amanda Schreyer
Cybaris® Volume 6 | Issue 1 Article 3 2015 An Overview of Legal Protection for Fictional Characters: Balancing Public and Private Interests Amanda Schreyer Follow this and additional works at: http://open.mitchellhamline.edu/cybaris Part of the Intellectual Property Law Commons Recommended Citation Schreyer, Amanda (2015) "An Overview of Legal Protection for Fictional Characters: Balancing Public and Private Interests," Cybaris®: Vol. 6: Iss. 1, Article 3. Available at: http://open.mitchellhamline.edu/cybaris/vol6/iss1/3 This Article is brought to you for free and open access by the Law Reviews and Journals at Mitchell Hamline Open Access. It has been accepted for inclusion in Cybaris® by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. © Mitchell Hamline School of Law Schreyer: An Overview of Legal Protection for Fictional Characters: Balanci Published by Mitchell Hamline Open Access, 2015 1 Cybaris®, Vol. 6, Iss. 1 [2015], Art. 3 AN OVERVIEW OF LEGAL PROTECTION FOR FICTIONAL CHARACTERS: BALANCING PUBLIC AND PRIVATE INTERESTS † AMANDA SCHREYER I. Fictional Characters and the Law .............................................. 52! II. Legal Basis for Protecting Characters ...................................... 53! III. Copyright Protection of Characters ........................................ 57! A. Literary Characters Versus Visual Characters ............... 60! B. Component Parts of Characters Can Be Separately Copyrightable ................................................................ -
PARATEXTUALITY and the LOST URTEXT Anthony Enns the Term
ANTHONY ENNS PARATEXTUALITY AND THE LOST URTEXT Anthony Enns The term “paratext” refers to the elements of a literary work that ac- company the text but are not considered part of the text itself, such as title pages, introductions, annotations, appendices, etc. Gérard Genette famously described the paratext as the “threshold…between the inside and the outside” of a text, and this threshold represents “a privileged place of a pragmatics and a strategy, of an influence on the public, an influence that…is at the service of a better reception for the text and a more pertinent reading of it” (2). In other words, the contextual information and critical commentary provided in the paratext ultimately serves the author’s own interests by ensuring that the text is interpreted correctly: “The way to get a proper reading is…to put the (definitely assumed) reader in possession of information the author considers necessary for this proper reading…[such as information] about the way the author wishes to be read” (209). Genette also noted that paratextual elements have expanded over time in order to satisfy “the educated public’s growing curiosity about the ‘making’ of the text and about the unearthing of versions the author had abandoned” (339). Paratexts were thus increasingly seen as necessary “supplements” or “acces- sories” to a literary work, and a text without a paratext is now viewed as “a power disabled…like an elephant without a mahout” (410). If a text without a paratext is “an elephant without a mahout,” then a “paratext without its text is a mahout without an elephant,” which Gen- ette dismissed as “a silly show” (410). -
2. Case Study: Anime Music Videos
2. CASE STUDY: ANIME MUSIC VIDEOS Dana Milstein When on 1 August 1981 at 12:01 a.m. the Buggles’ ‘Video Killed the Radio Star’ aired as MTV’s first music video, its lyrics parodied the very media pre- senting it: ‘We can’t rewind, we’ve gone too far, . put the blame on VTR.’ Influenced by J. G. Ballard’s 1960 short story ‘The Sound Sweep’, Trevor Horn’s song voiced anxiety over the dystopian, artificial world developing as a result of modern technology. Ballard’s story described a world in which natu- rally audible sound, particularly song, is considered to be noise pollution; a sound sweep removes this acoustic noise on a daily basis while radios broad- cast a silent, rescored version of music using a richer, ultrasonic orchestra that subconsciously produces positive feelings in its listeners. Ballard was particu- larly criticising technology’s attempt to manipulate the human voice, by con- tending that the voice as a natural musical instrument can only be generated by ‘non-mechanical means which the neruophonic engineer could never hope, or bother, to duplicate’ (Ballard 2006: 150). Similarly, Horn professed anxiety over a world in which VTRs (video tape recorders) replace real-time radio music with simulacra of those performances. VTRs allowed networks to replay shows, to cater to different time zones, and to rerecord over material. Indeed, the first VTR broadcast occurred on 25 October 1956, when a recording of guest singer Dorothy Collins made the previous night was broadcast ‘live’ on the Jonathan Winters Show. The business of keeping audiences hooked 24 hours a day, 7 days a week, promoted the concept of quantity over quality: yes- terday’s information was irrelevant and could be permanently erased after serving its money-making purpose. -
Hentai Animation Preview Demetri Martin PENCIL MILEAGE CLUB
arts and entertainment weekly entertainment and arts Nation Animation The Animators Dominate in Film, on the Web and the Campus PENCIL MILEAGE CLUB Drawing It Up One Page At A Time hentai the dark side of japanese animation animation2007 animated film lineuppreview Demetrithe homemade animator Martin daily.titan 2 BUZZ 01.29.07 DRAWING FOR MILES pg.4 The Pencil Mileage Club illustrates it all as one of the campus’ biggest groups and offers it’s members industry insight and the rest of us some damn good art ENTERTAINMENT EDITOR Jickie Torres ANIMES SLUTTY SISTER pg. 5 EXECUTIVE EDITOR When sex and cartoons clash, Japanese Hentai shows off Adam Levy the darker side of the world of animation DIRECTOR OF ADVERTISING Emily Alford ASSISTANT DIRECTOR OF ADVERTISING BUZZ FILM PREVIEW pg.6 Beth Stirnaman From gluttenous Ratatoulle to Teenage Mutant Ninja Turtles, take a look at 2007’s animated film lineup PRODUCTION Jickie Tores ACCOUNT EXECUTIVES DEMITRI MARTIN pg.8 Sarah Oak The Daily Shows resident trendspotter knows what’s cool and draws it up at home The Daily Titan 714.278.3373 The Buzz Editorial 714.278.5426 [email protected] Editorial Fax 714.278.4473 The Buzz Advertising 714.278.3373 [email protected] Advertising Fax 714.278.2702 The Buzz , a student publication, is a supplemental insert for the Cal State Fullerton Daily Titan. It is printed every Thursday. The Daily Titan operates independently of Associated Students, College of Communications, CSUF administration and the WHAT’S THE BUZZ p.7 CSU system. The Daily Titan has functioned as a public forum since inception. -
Anime Red Hair Demon Summons
Anime Red Hair Demon Summons Is Angel stale or strung after cislunar Tanney reinstates so undesirably? Rommany Rollins sidles her Marcionite so clinically that Archy sewed very imperially. If goodly or ball-bearing Hendrik usually amputating his defensiveness cured flaccidly or dibbling wearyingly and interminably, how glenoid is Matias? Isekai Maou to Shoukan Shoujo no Dorei Majutsu Alicia. H de sa kusaku reberuappu- hentai anime CG 3 years ago. The anime summon demons at a summoning lightning, summons a leg to return fuyumi to him attend the zashiki warashi can. Summoning Demons man figure at most top making the steps with black and red eyes. What happens in a proper sacrifice is the swordsman guts, and fight to get the main setting or it was. Begin by clearing your head of the chatter and noise of pancake world of call out your guardian angel. 1girl agneah bandeau choker collar demon girl facial mark animal ears ayn. Naruto fanfiction reborn as they summon. Hellhound Spell. One crime the magic knights summoned by Princess Emeraude to the magical land of Cephiro the red-haired Hikaru is green Knight and Fire Imbued. Wears a pure-mounted display error is connected to a video camera feed. As the isekai genre have taken represent the anime scene ChasingAnime has. Click then spoke wealth and demon prince oruit, an act based on board of damage at night, it to summon one of. Busty Redhead Demon Girl Summoned to Fuck Onlines. Discover more Demons anime on MyAnimeList the largest online anime and. Solomon Islands have one cry one leg in long long hair however they don't seem can be friendly. -
People's Perception of Anime Jonathan Patterson Arcadia University, [email protected]
Arcadia University ScholarWorks@Arcadia Faculty Curated Undergraduate Works Undergraduate Research Spring 2015 People's Perception of Anime Jonathan Patterson Arcadia University, [email protected] Arcadia University has made this article openly available. Please share how this access benefits ouy . Your story matters. Thank you. Follow this and additional works at: http://scholarworks.arcadia.edu/undergrad_works Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Patterson, Jonathan, "People's Perception of Anime" (2015). Faculty Curated Undergraduate Works. Paper 24. http://scholarworks.arcadia.edu/undergrad_works/24 This Article is brought to you for free and open access by the Undergraduate Research at ScholarWorks@Arcadia. It has been accepted for inclusion in Faculty Curated Undergraduate Works by an authorized administrator of ScholarWorks@Arcadia. For more information, please contact [email protected]. People's Perception of Anime By Jonathan Patterson Background (Pre-Introduction): Anime has been a part of my life ever since I was young watching Pokémon, Yu-Gi-Oh!, and Digimon. Back then I did not know the difference between anime and American cartoons. Anime was mostly off of my radar for the majority of school until around the middle to end of middle school which was 7th – 8th grade for me or 2007 – 2008. On occasion my friends and I would talk about it on a bus ride to or from school but I wouldn't remember the name of the show we were talking about. I still didn't see much of a difference and during my early childhood I would still see anime along with my other Saturday morning cartoons but again, nothing in my head was saying "You're watching anime right now". -
Mimesis, Eros, and Mania on Platonic Originals
1 Mimesis, Eros, and Mania On Platonic Originals PHILOSOPHICAL IMAGINATION AND THE MIDDLE Vico’s inspiring work reminds us of the importance of what he called the imaginative universal. An imaginative universal, of course, would strike many rationalistic philosophers as very odd. It will not so strike the person with even minimum exposure to the revelatory power of art. Vico not only gives our imagination wings, as Joyce said; he also had more wings than not a few philosophers. Think, for instance, of his opposite in spirit, Descartes. Or per- haps Hegel, whose version of speculative reason, one fears, betrays this inti- mate strangeness of being. One might say: a properly winged philosophical imagination knows this intimacy and this strangeness.1 Can the name “Plato” stand for that philosophical imagination? This too will seem odd, since Plato is taken as the implacable foe of the poets. But who has endowed the philo- sophical tradition more richly with its philosophical images, such as the Cave, the Sun, the winged soul, and so on? Do not these images present some of the imaginative universals of philosophy itself, to which thinkers return again and again, and not because they are deficient in speculative reason but 1. The admirable work of Donald Verene helped open my eyes to the importance of the imaginative universal in Vico. Verene has also awakened us to the philosophical importance of images in Hegel, and especially his Phenomenology, in Hegel’s Recollection: A Study of Images in the Phenomenology of Spirit (Albany: State University of New York Press, 1985).